i|^ii»#( 


PEACE 

"If 'hen  I  am  crucified  upon  his  brow, 
Hill  the  strange  god  be  at  peace?" 

— From  "Thb  Belovid  Stbanceb.' 


EVENAIr 


\  RECOED  OF  HIS  UFE  ANDAET  lOStTHER 
WITH  AN  IS  SAT  ON  STYLE  BY  IHE  ARTIST 

;VND  INGlUElNGr^  lOI 
EEPRODUCnONS  9F  fflS 
DRAWINGS,  PAFNIINGS 
DECORATIVE  WOE! 


PRIVATELY   PRIMTED 
JBZZ 


COPYRIGHT       1922       BY 
ALICE         DE       LA       MAR 

THE  EDITION  IS  LIMITED  TO 
ONE  THOUSAND  NUMBERED 
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*;i'*iw«*~'^  "A* 


S    !•;    I.    !•-       r    ()    K    T    K    A    !     1,       I     'J    2    O 


A   T       W    I)    R    K 


|-)|i>t<i(.|(\ril    11^     AMI  i    Hiiti.llIti.N 


A  T       V    I     A    V 


riii>Tn»,R  *rH    n^    mxrcia   stein 


PAUL      THEVENAZ 


THE  ARTIST  and  HIS  WORK 


PAUL      THEVENAZ 

THE     ARTIST     AND      HIS     WORK 


"^^^^^O  the  inherently  artistic,  the  decoration  of 
■  ^  j  one's  home  is  perhaps  the  most  absorbing  of 
^^^  all  thoughts.  To  make  beautiful  these  homes 
was  the  work  of  Paul  Thevenaz,  mural  decorator. 
Thevenaz  was  born  at  Geneva,  Switzerland,  on  February 
22,  1891.  His  childhood,  spent  in  the  clear  heights 
of  the  Swiss  mountains,  his  very  soul  was  immersed 
in  nature's  beauty.  The  crystal  lakes  of  Switzerland, 
the  flaming  sunrise,  behind  glistening,  towering 
peaks,  white  rushing  torrents,  emerald  fields,  carpets  of 
vivid  flowers — all  of  these  indescribable  influences  were 
burning  into  his  sensitive  appreciation.     He  no  doubt 

[  '■  ] 


PAUL         THEFENAZ 

inherited  diverse  artistic  tendencies.  These  he  sought 
to  gratify  by  travel  and  arduous  work. 
First  he  visited  Italy  and  then  proceeded  to  Paris  to 
study  and  earn  his  living.  The  struggle  there  was  a 
difficult  one,  a  hand  to  mouth  existence,  but  he  said, 
"It  did  me  good." 

It  was  there  Thevenaz  gained  recognition  as  a  portrait 
painter.  His  work  was  distinctive  in  two  ways,  there 
was  much  elimination  of  background,  and  more  pure 
likeness  put  into  the  portrait. 

During  these  six  years  in  Paris,  the  pre-war  cubistic 
movement  was  strong  enough  to  claim  him,  in  so  far 
that  he  became  known  as  a  Crystalist,  a  Prismatist  and 
so  on.  He  met  Igor  Stravinsky  and  Jean  Cocteau,  both 
of  whom  became  strong  influences  in  his  artistic  de- 
velopment. They  endeavored  to  teach  him  that  art  is 
not  a  dramatic,  hair-raising  performance,  but  full  of 
subtle  humor,  and  very  dependent  upon  hard  work. 
In  his  long  talks  with  Stravinsky,  he  became  con- 
vinced of  the  necessity  for  the  knowledge  of  Geometry, 
mathematics,  and  the  absolute  mastery  of  technique. 
A    thorough   grounding  in    Dalcroze's   Rhythmics,   at 


r 


PAUL         THEVENAZ 

his  school  of  Music  in  Switzerland  had  laid  the  founda- 
tion of  a  clear  musico- rhythmical  knowledge,  which  he 
carried  through  all  his  work.  In  collaboration  with 
Stravinsky  and  Cocteau,  Thevenaz  was  devoting  his 
energies  to  the  production  of  the  ballet,  which  was 
destined  never  to  be  given,  on  account  of  the  breaking 
out  of  the  great  war. 

During  his  training  in  the  American  Army  his  work 
of  necessity  stood  still.  Since  the  ending  of  the  war, 
Thevenaz  devoted  himself  entirely  to  his  decorative 
work,  and  labored  rapidly  and  untiringly.  It  became 
his  creed!  One  finds  in  it  all  the  glory  of  his  early 
youthful  surroundings,  all  the  rhythm  of  his  musical 
education,  all  the  art  of  his  creative  genius. 
Thevenaz  said:  "No  matter  what  the  subject  is,  deco- 
ration is  related  to  music  and  the  higher  mathematics, 
it  is  a  part  of  a  highly  educated  life,  an  education 
for  the  'non-educated. '  It  is  the  only  honest  and  satis- 
factory form  of  art  because  it  answers  to  a  need  and 
tries  to  fulfill  someone's  wishes.  A  painter  of  the  Re- 
naissance would  not  have  painted  a  Madonna  unless 
the  Church  had  expressed  a  desire  to  worship  it." 

[    -3   ] 


PAUL         THEFENAZ 

This  desire  to  please — this  willingness  to  adapt  his 
work — did  not  frighten  Thevenaz,  a  characteristic  rare 
in  the  successful  modern  painter.  Thevenaz  felt  that 
rather  than  lose  by  this,  he  gained.  "The  educated 
artist  of  today  knows  too  much"  he  said,  "and  in  too 
subjective  a  way." 

"By  doing  decorative  work  the  artist  is  given  limi- 
tations by  his  customer's  tastes  or  wishes;  he  has  to  fit 
his  personality  into  the  new  shape  every  time,  thus  en- 
larging his  means  of  expression  and  discovering  that 
variety  is  not  the  enemy  of  style,  but  quite  the  contrary, 
its  friend.  If  one  has  personality  it  will  come  out,  no 
matter  what  one  does." 

The  things  that  we  live  with  are  the  things  that  we 
should  grow  to  love,  and  so  in  these  creations  Paul 
Thevenaz  found  his  work  a  serious  attempt  to  please 
the  one  who  is  to  dwell  with  them.  To  him  it  was  more 
than  just  "painting  a  picture."  He  felt  the  desire  of  the 
home  lover  to  fill  his  dwelling  with  beauty — an  untiring, 
unfading  beauty.  He  tried  to  meet  that  aspiration  in 
whatsoever  phase  it  might  be  expressed.  He  realized 
that  he  was  not  painting  a  canvas  to  be  hung,  first  in 

[  ■+] 


PAUL         THEVENAZ 


one  room,  then  in  another;  but,  with  the  architect, 
making  his  wall  a  veritable  part  of  the  house  itself. 
There  must  be  no  monotony,  no  false  note  of  color,  no 
undue  proportions — all  must  be  harmonious. 
"I  believe,"  said  Mr.  Thevenaz,  "that  decoration  is 
the  most  abstract  form  of  art,  the  most  musical,  the  most 
creative.  That  it  requires  more  intelligence,  more  tact, 
more  knowledge  than  any  specialization  in  a  particular 
form  of  landscape,  or  still  life,  or  portrait." 
In  the  exquisite  harmony  of  colors,  the  use  of  brilliant 
tones,  the  laying  on  of  pure  paints,  the  vivid  daring 
combinations,  one  feels  the  intense  joy  of  the  painter. 
In  the  summer  home  of  Mrs.  Frederick  Havemeyer 
on  Long  Island,  in  a  spacious  marble  dining  room,  Mrs. 
Havemeyer  requested  Thevenaz  to  paint  a  nineteen-foot 
frieze  on  white  oil-cloth. 

"It  was  like  ice-skating  with  red  hot  skates,"  said 
Mr.  Thevenaz.  In  soft  pastel  tones,  the  tall  buildings 
and  broken  skyline  of  Manhattan  appear.  If  one  has 
crossed  the  ferries  at  sunset,  caught  the  red  glow 
reflected  upon  gold  towers  and  myriad  window  panes, 
he  has  also  seen  the  ugly  docks  and  piers  transformed 


[    '5    1 


PAUL         THEFENAZ 


into  soft  blending  spots  of  color  between  the  dark  water 
and  the  jagged  background  of  skyscrapers,  and  the 
liners  and  little  craft  sailing  up  and  down. 
With  infinite  patience  Mr.  Thevenaz  persuaded  his 
colors  to  remain  fixed  on  the  glazed  white  surface,  and 
the  result  is  unique  and  altogether  stately  and  pleasing. 
Another  masterpiece  is  the  private  swimming  pool 
in  Mrs.  George  Blumenthal's  New  York  home.  The  bare 
walls  surrounding  the  pool  have  been  transformed  into 
a  gorgeous,  poetic  sea  garden. 

Against  an  aqua-marine  background  of  undersea 
tone,  float  myriad-colored  sea  anemones,  glittering 
shoals  of  deep-sea  fish,  tall  irridescent  water  flowers, 
great  jewelled  shells  and  dreaming  mermaids  with  long 
tresses  of  seaweed  texture.  Corals,  greens,  pinks  and 
blues,  and  rythm  in  every  detail! 

Here  a  phantom  ship  appears  wrecked  upon  rocky 
depths,  in  a  vivid  mass  of  star  fish.  A  great  translucent 
octopus  coils  and  uncoils  below  a  little  sea  child  clinging 
to  an  overhanging  rock  and  gleefully  deriding  all  danger. 
In  this  swimming  pool,  as  in  much  of  his  work,  Mr. 
Thevenaz  revelled  in  the  exotic,  the  foreign,  the  imagin- 


[  -6  ] 


PAUL         THEVENAZ 

ative!  .\%  Chippendale,  in  his  master  conceptions,  dared 
to  use  the  best  of  all  countries  and  periods,  so  this 
modern  painter  believed  in  a  mixture  of  decoration,  not 
as  an  aim,  but  as  a  means  to  achieve  new  effects.  By 
employing  so  far  as  expedient,  all  experiences  of  the  past, 
of  the  foreign,  anachronisms,  knowledge  of  whatsoever 
known  of  nature;  he  infused  into  one  painting  all  that 
the  varied  musical  instruments  could  bring  into  a 
symphony. 

Thus  he  collaborated  with  the  great  Tiepolo  of 
centuries  ago,  in  painting  a  ceiling  for  the  open  Casino 
on  Mr.  James  Deering's  estate  in  Miami.  The  walls 
and  gallery,  original  and  restored,  belong  to  the  great 
master,  and  Thevenaz  has  completed  the  ceilings  with 
the  singing  ladies  and  gay  cavaliers  of  Eighteenth 
Century  Italian  charm. 

Very  modern,  and  thoroughly  expressive  of  subtle 
humor  is  his  decoration  of  a  private  moving  picture  ball- 
room on  Long  Island.  About  the  oblong  room,  between 
delicate  pink  columns,  appear  decorated  panels  done 
alternately  in  charcoal  and  colors.  Charlie  Chaplin, 
characteristic  and  familiar,  accompanied   by   the  well 

I    -7    1 


PAUL         THEFENAZ 

known  Edna  Purviance,  Coney  Island  and  the  cop; 
Theda  Bara  reclines  upon  a  couch  surrounded  by 
suicide  lovers. 

In  the  New  York  harbor,  the  most  daring  of  aviators 
hangs  by  a  rope  ladder  rescuing  the  lovely  Pearl  White, 
while  William  S.  Hart,  Mary  Pickford  and  Douglas 
Fairbanks  each  appear  with  unmistakable  personality. 
The  alternate  colored  panels  are  fanciful  and  vivid 
in  coloring.  The  everloved  Punch  and  Judy — "The 
Final  Kiss" — in  charming  Tyrolean  costumes,  and  others 
of  equal  charm. 

To  children  Paul  Thevenaz  is  an  unexpected  de- 
light. In  a  most  original  nursery,  designed  by  Mrs. 
Ruby  Ross  Goodnow,  Thevenaz  has  enchantingly 
covered  the  walls  with  his  own  ideas  of  childhood 
pictures.  A  winsome  pink  lady  in  her  garden  carries 
a  jade  green  parasol  and  wanders  among  her  brilliant 
posies.  A  sturdy  farmer  grows  his  gorgeous  pumpkins 
and  carrots,  a  valiant  hunter  in  sola  toupee,  an  African 
jungle;  lions,  elephants,  automobiles,  ships  of  adventure, 
spouting  whales,  locomotives  and  Esquimaux,  each  is 
given  its  place.     Above  them  floats  a  phantom  balloon 

[    ,8] 


PAUL 


THEFENAZ 


with  "Vive  la  France!"  to  arouse  their  curiosity.  What 
child  could  be  anything  but  happy  with  such  com- 
panions. 

Whether  it  be  a  long  drab  hallway  transformed  in- 
to a  gallery  of  panels — each  a  charming  picture — one 
poetic  and  romantic  as  a  Fragonard,  or  a  child's  nurs- 
ery—  its  walls  metamorphosed  into  a  fairyland  or 
Mother  Gooseland— it  makes  no  difference;  either  one 
is  equally  fascinating. 


!•■    A    U    N    E 


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AN     ESSAY     BY     PAUL     THEVENAZ 


f>i '  1)1  i>iiiitiiiijrJ">'ilfJ)''iiui  *  i^yiT fiijni"  J  •  II  n,t^ 


Igor  Stravinsky  once  told  me,   "Ce  que 

le public  te  reproche,  d'eveloppele,  c'est  toi." 

^Y  struggling  against  one's  fault  one  does  not 
reach  anywhere.  It  is  smothering  it  and  giv- 
ing it  more  power  Hke  putting  a  cover  on  a 
boihng  pot.  Open  it.  Let  the  steam  come  out  and 
use  this  power  by  adjustment. 

But,  although  limitation  is  style,  it  would  be  better 
to  reach  style  and  keep  it  through  variety  of  expressions 
and  means.  Most  artists  reach  success  through  doing 
the  same  thing  over  and  over  again.  They  develop  a 
"personality"  by  exaggerating  some  tricky  way  of  doing 
one  thing  and  usually  overdoing  it.    They  would  think 


I ''  1 


PAUL         THEVENAZ 

themselves  dishonored  to  sign  their  name  on  a  thing 
different  from  the  easy  routine  of  their  own. 
They  hold  to  their  "personality"  as  they  would  walk 
on  very  thin  ice  not  daring  to  do  anything  that  would 
break  it  and  let  the  under-water  play  freely.  This  is 
why  there  are  on  exhibition  a  display  of  more  or  less 
skillful  techniques.  Without  object  they  belittle  the  sub- 
ject of  their  pictures;  but  they  would  not  change  it  for 
anything,  because  their  means  do  not  allow  them  to  do  so. 
It  seems  to  me  that  if  one  has  a  real  individuality 
it  will  come  out  anyway,  more  or  less  successfully,  but 
it  would  improve  greatly  through  the  greatest  variety 
of  mediums  and  subjects  possible.  Most  of  the  artists 
are  too  much  specialists.  They  go  on  a  track  like  a 
railroad  train.  They  are  very  much  troubled  if  a  wheel 
slips  out,  while  they  ought  to  be  glad.  Life  is  nothing 
but  a  field  of  experiences  and  the  more  we  get  the 
better.  None  of  the  pre-Renaissance  artists  ever 
thought  of  wearing  the  proud  corslet  of  a  strong  origi- 
nality. They  tried  very  hard,  as  a  matter  of  fact, to  paint 
as  well  as  they  could  and  satisfy  Mr.  Medici,  who  had 
ordered  a  Madonna  for  his  family's  chapel.    This  did 

[  "  J 


PAUL         T     H      E      V     E     N     A     Z 

not  prevent  them  from  doing  great  things  that  have  a 
meaning  and  can  stand  criticism  on  any  point  of  view, 
even  Hterary  and  sentimental. 

When  I  see  a  man  painting  very  successfully  a  pear 
on  a  plate,  I  admire  his  technique.  His  means  of 
expression,  his  marvelous  way  of  getting  out  of  a  plain 
subject  such  a  refined  harmony  of  rhythm,  poetry  and 
geometry.  But  the  aim  of  art,  whatever  one  thinks  it 
might  be,  is  certainly  not  that.  If  the  artist  is  limited 
to  that  sort  of  thing  he  will  go  on  painting  pears  on 
plates  all  his  life  and  make  a  brilliant  career  of  it.  But 
is  this  the  way  a  human  life  ought  to  be  spent? 
If  he  deliberately  limits  himself  to  such  works  of  art, 
then  he  is  a  lazy  dilettante  and  no  more  worthy  of 
consideration  than  a  singer  who  would  limit  himself  to 
singing  notes  and  scales. 

Perfection  has  been  reached  on  that  line  by  Chardin, 
but  his  still  life  paintings  are  not  his  only  title  to  fame 
— and  this  very  perfection  ought  to  have  done  the  job 
for  his  successors.  One  does  not  climb  about  a  moun- 
tain where  a  funiculaire  can  take  you  unless  one  wants 
to  do  it  for  the  personal  fun  or  the  physical  training. 

[    ^3    ] 


PAUL         THEVENJZ 


The  artist  today  has  the  priceless  advantage  of  all  the 
experiences  of  the  past  Masters.  He  should  have  a 
perfect  knowledge  of  them  and  of  all  that  which  has 
been  learned  through  the  centuries.  He  should  use 
freely  and  tactfully  the  various  lessons  of  the  past,  and 
by  placing  his  aim  further  and  higher,  try  to  express 
new  ideas  through  the  infinite  variety  of  means  he 
should  possess  instead  of  merely  developing  petty  per- 
sonal tricks  and  repeating  the  same  thing  over  and  over 
again.  The  "heirlooms  of  humanity,"  museums,  those 
moseleums  of  art,  would  not  be  so  absolutely  dead  if 
people  could  realize  that  the  past  is  not  the  past  any 
more.  If  artists  would  dare  to  be  romantic  with  Dela- 
croix, when  they  have  something  romantic  to  do,  classic 
when  need  be,  and  primitive  when  they  want  to!  Why 
should  not  an  artist,  free  of  prejudice  and  self-admira- 
tion, use  in  the  same  composition,  Tiepolo's  fantasy, 
Watteau's  distinction,  and  Monet's  discoveries?  He 
would  not  lose  a  particle  of  his  own  personality,  but  he 
would  have  to  use  something  new  in  art,  tact.  He 
would  not  have  to  copy,  but  simply,  even  as  the  latest 
discoveries  in  electricity  are  applied  to  every  use,  he 


[    ^4] 


PAUL         THEVENAZ 

would  use  Tiepolo's,  Watteau's  and  Monet's  experi- 
ences, thus  doing  them  honor,  bringing  them  back  to  Hfe, 
and  gloriously  giving  their  labor  new  fruits.  The  past 
would  not  be  so  far  away  and  the  present  would  be 
richer. 

Artists  would  then  need  intelligence  and  absolute  and 
perfect  sense  of  rhythm,  poise  and  tact.  They  would 
find  out  that  they  lacked  these  qualities  and  they  would 
start  out  to  develop  them.  It  would  be  a  new  educa- 
tion for  them  and  for  the  public.  It  would  link  together 
the  different  flowers  of  our  civilization  now  scattered 
and  dry  throughout  the  whole  world  and  throughout 
time. 

Anachronism  and  exotism  ought  to  be  conquered;  then 
there  would  be  no  more  anachronisms  and  exotisms,  be- 
cause by  destroying  time  and  space  in  reality?  we  should 
arrive  at  such  a  practical  and  simple  way  of  dealing  with 
all  the  works  of  the  dead  and  the  foreign  that  there 
would  not  be  any  more  uneasiness  or  self-consciousness; 
thus  no  artist  with  a  real  personality  would  be  deprived 
of  it,  and  local  color  or  racial  characteristics  would  not 
suffer.   We  need  perfect  assimilation  through  rhythmic- 

[    ^5    ] 


PAUL 


THEVENAZ 


al  education,  serious  technical  training  and  absolute 
mental  clarity. 

Quality  cannot  be  annihilated.  It  will  come  out.  It  is 
the  sparkle  of  divinity  that  will  give  life  to  any  work. 
Should  it  not  be  used  to  give  life  to  better  things  in- 
stead of  being  wasted  so  prodigally  as  it  is  now.'^ 
Through  mastering  all  style  and  manners,  the  artist 
of  today  knows  too  much  to  forget,  and  not  enough  to 
generalize,  too  much  to  be  unconscious,  and  not  enough 
to  be  unconscious  again.  It  is  foolish  for  him  to  pre- 
tend not  to  know  anything,  and  escape  all  influence  to 
create  something  new.  He  must  acquire  more  knowl- 
edge in  order  to  grasp  the  ensemble  of  the  world's 
knowledge,  and  extract  from  it  the  leading  principle  of 
beauty. 


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DRAWINGS  and  PAINTINGS 


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TOUTE       LA       NUIT      JAl       LUlTt       AVEC       L  AMOUR 


L    A       T    A    M     !■    !•:    T    E 


ISRAFEL  (unfinished       SKETCH) 


A    N    G    i;    I.  (   U    N     1     I    N    I    S    H    I-     D       S    K    I-    T    C    11  ) 


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COSTUME  SKETCHES 


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ORIENTAL   DANCE 


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MURAl.  PFCORATION   FOR  THK   SVVIMMINC   POOL  OF 
MRS.  (iKOROE   BIAJMKNTHAI. 


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MURAL       DliCORATION       IN       THIi       SWIMMING       TOOL 
OF       MRS.       GHORGli       BLUMENTHAL 


THK       DISIMBARKATION  —  ML  RAL       DiaoRATION 


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MURAL       D    t    C    O    R    A    T    I    O    N    —    1'    L    A    'S         ROOM 


TROPICAL    BIRDS — SKETCH    FOR    A    SCREEN 


ORPHEUS 


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U    R    A    I,       I)    K    C    <)    R    A    T    1    O    N 


BLIND       man's       buff       (  M    U    R    A    L  ) 


MIRROR   DECORAT 


riON    KOR    THK    ARTS   CiUlLI)    EXHIBITION 


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DESIGN       FOR       A       MIRROR 


DESIGN       I-    O    R       A       M    I    R    R    ()    R       (    I)    !■;     l'    A    I    L  ) 


A    I-    R    E    S       LA       1>    L    U    I    K       L    E       BEAU       TEMPS 


U    N    1-     I    N    1    S 


11  K  D     s  K  i;   r  c  11     1   o  K     A     (-■   i;  1   1.  1  N  u 


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C    H    I-     R    V    15 


C   H    K    R    u    n 


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C    11    1     RUB 


R    A    I    N 


SKETCHES    ami  UNFINISHED  DRAWINGS 


S    K    K     T    C    H 


N    U    U    E       F    I    (;    U    R    E 


S    K     I.    1     C 


11       1     n    K       li    1.    I'     M     i;     N    T    H    A    1.       !■    ()    O    I. 


SKETCH 


SKETCH 


S    K    L.     T    C    H 


l'     ISO  I,  1. '  i; 


ILLUSTRATION 


M     I    N    S     I-    R    !■:    I-       S    II    ()    W 


S    K    r    T    ('    II 


CONTENTS 

Four  Portraits  of  Paul  Thevenaz — Frontispiece 

Portrait,  1920 — Painted  by  the  Artist 

At  Work — Snapshot 

At  Play — Photo  by  Alice  Boughton 

Portrait,  192 1 — Portrait  by  Marcia  Stein 
Paul  Thevenaz — The  Artist  and  His  Work    -    -    -    -     11 

Variety — An  Essay  by  Paul  Thevenaz 21 

Reproductions  of  the  Artist's  Work — Beginning  on 

page  29  in  the  following  order: 
*  Peace — Facing  the  Title  Page 
*Faune — Water  Color 

PORTRAITS 

Self  Portrait,  1914 — Pencil  and  Gold  Paint 
Pierre  De  Lanux — Pencil  and  Water  Color 
Portrait  of  a  Negro — Pencil  and  Water  Color 
Miss  Fania  Marinoff — Pencil  and  Water  Color 
Miss  Elsie  De  Wolfe — Pencil  and  Water  Color 
Portrait — Pencil  and  Water  Color 
Madame  DeBaillets — Pencil  and  Water  Color 
Portrait — Pencil  and  Water  Color 

•[The  Colored  Plates  are  indicated  by  asterisks] 


CONTENTS 

Madame  Tappe — Pencil  and  Water  Color 

Mrs.  John  Alden  Carpenter — Pencil  and  Water  Color 

Estrellita — Pencil  and  Crayon 

Mrs.  George  Blumenthal — Pencil  Drawing 

Mrs.  Ruby  Ross  Goodnow — Pencil  Draiving 

Miss  Alice  De  La  Mar — Pencil  Drawing 

Miss  Evangeline  Johnson — Pencil  Drawing 

Robert  O.  Handley — Pencil  Drawing 

Self  Portrait — 1921 — Charcoal  Pencil 

DRAWINGS  AND  PAINTINGS 

*  Diane  Chasseresse — Water  Color 
The  Shepherdess — Water  Color 
Le  Printemps — Water  Color  on  Silver 
Nymph  and  Faune  (The  Evil  of  Pride) — Water  Color 
Le  Reve  (The  Strange  Discovery) — Water  Color 
Faune  (My  God) — Water  Color 
La  Danse  (Enchantment) — Water  Color  and  Pencil 
Rhythm  (Fuga) — Water  Color  and  Pencil 
Dancer — Pen  and  Ink 
The  Unconcerned — Pen  and  Ink 
Tyrolean  Fantasy — Water  Color  in  Green  and  White 


CONTENTS 

The  Final  Kiss  (To  Him  the  Woman  Displays  Herself) — 

Pencil  and  Water  Color 
The  Puritan — Pencil  and  Water  Color 
*The  Debutante — Water  Color 
Le  Jardin  d'Amour — Water  Color 
St.  George  and  the  Dragon — Water  Color 
Il'Etait  Une  Fois  Une  Princesse — Water  Color 
Le  Reve — Pencil  and  Water  Color 
Le  Voyageur — Pencil  and  Water  Color 
La  Tempete  (The  Sky  Is  Dead) — Water  Color 
Toute  la  Nuit  j'ai  lutte  Avec  I'Amour — Water  Color 
Israfel — Unfinished  Sketch  in  Oil 
Angel — Unfinished  Sketch  in  Oil 
Equestrienne — Sketch  for  a  Hooked  Rug 
Le  Cirque — Water  Color 
Leda — Water  Color 

La  Belle  Creole — Pencil  and  Water  Color 
The  Glass  Elephant — Water  Color 
Nasturtiums — Water  Color 
In  Florida—^  Snap  Shot 
Florida  Jungle — Water  Color 
Florida  Sketch — Water  Color 
Florida  Jungle — Water  Color 


CONTENTS 

Illustration  for  a  Song  Book — Pen  and  Ink  Colored 
Illustration  for  a  Song  Book — Pen  and  Ink  Colored 

COSTUME  SKETCHES 

*The  Young  Christ  in  the  Temple — Tempera 
Ice  Ballet  Guard — Water  Color 
Domino — Water  Color 
Salome — Water  Color 
Costume  Sketch — Water  Color 

MURAL  DECORATIONS 

Design  for  a  Frieze — Water  Color 

Oriental  Dance^ — Mural  Decoration  for  a  Theatre — Oil 

Pierrot,  Columbine  and  Harlequin — Mural   Decoration 

for  a  Theatre — Oil 
Sketch  for  a  Theatre  in  Chicago — Water  Color 
Fountain  Steps — Sketch  for  a  Screen — Water  Color 
Mural    Decorations    for   the   Swimming   Pool    of    Mrs. 

George  Blumenthal — Oil 
Detail  of  Mural  Decoration  for  the  Swimming  Pool  of 

Mrs.  George  Blumenthal — Oil 
Mural  Decoration  for  the  Swimming  Pool  of  Mrs.  George 

Blumenthal — Oil 


CONTENTS 

The  Disembarkation — Mural  Decoration — Water  Color 
Mural  Decoration — Charlie  Chaplin — Charcoal 
Mural  Decoration — Theda  Bara — Charcoal 
Mural  Decoration — William  S.  Hart — Charcoal 
Mural  Decoration — Douglas  Fairbanks — Charcoal 
Mural  Decoration  for  a  Play  Room — Water  Color 
Mural  Decoration  for  a  Play  Room — Water  Color 
Mural  Decoration  for  a  Play  Room — Water  Color 
Mural  Decoration  for  a  Play  Room — Water  Color 
Mural  Decoration  for  a  Play  Room — Water  Color 
Mural  Decoration  for  a  Play  Room — Water  Color 
Tropical  Birds — Sketch  for  Screen — Water  Color 
Orpheus — Water  Color 
Mural  Decoration — Water  Color 
Mural  Decoration — Water  Color 
Blind  Man's  Buff — Mural  Decoration — Oil 
Mirror  Decoration  for  the  Arts  Guild  Exhibition — 

Oil  on  Silver 
Design  for  a  Mirror — Pen  and  Ink  Sketch 
Design  for  a  Mirror  (Detail) — Pen  and  Ink  Sketch 
Unfinished  Sketch  for  a  Mural  Decoration — Water  Colo/ 
(Apres  La  Pluie  Le  Beau  Temps) 


CONTENT 

Unfinished  Sketch  for  a  CciHng — Water  Color 
Cherub — Charcoal 
Cherub — Charcoal 
Cherub — Charcoal 
Cherub — Charcoal 
*Rain — Water  Color 

SKETCHES  AND  UNFINISHED   DRAWINGS 

Sketch — Pencil 

Nude  Figure — Pencil 

Sketch  for  Blumenthal  Pool — Pencil 

Sketch — Pencil 

Sketch — Pencil 

Sketch — Pencil 

L'Isole — Pencil 

Ilkistration — Pen  and  Ink 

Minstrel  Show — Water  Color 

Sketch — Pencil 

The  designs  for  the  end-papers,  tail-pieces  and  head- 
ings are  from  drawings  by  the  artist 


Date  Due 

PB.NTcoiNu.s..             CAT.   NO    24    161               Sw 

